Match with Enlightenmental Studies
& The Age of Reasons
(Tangent as Good as a Straight Line)
Once Faulkner & Joyce exposed their
streams of unconsciousness flooding
my linear habits of beginnings, middles,
& endings and then MTV, damnit,
began generating constellations of
imagery non sequitur to whatever lyrical
sequence was going on & on: my sense
of Show & Tell took a hit, ambushed by
internal providential explosive devices
until it became clear what a merely
convenient truth a sequence is—
a because & affect.
Am I aware my voiced-to-voiceless
alveolar fricative plural-variations
depends upon—is governed by—
the environmental conditions of the
final segments of the noun I
unconsciously pluralize?
How do I do this? What does it take
to lift a finger? tongue-tap the alveolar
ridge? maintain the valved hum of a
low-back vowel? glide of a voiced glottal?
How do I sustain such un-conscious
capabilities & environed mentalism?
(Ask your self: can consciousness
KNOW the UN-CONSCIOUS
—which rules—without reducing
it to conscious process like talking
about sphere in terms of a flatline?.)
And don’t I experience dissonance
from time to time as I expertly describe
in minute conscious rational & devilish
detail unconscious autonomic and auto-
matic processes or explain economies,
ecologies, sustainabilities, how to write
or read a poem, why Obama won as if
talking about internal combustion engines:
conscious-centric, true? This little lite
of mind. I’m gonna let is shine.
How could it be otherwise?
It’s embarrassing but nevertheless
I easily confuse
systemic KNOWING
(what the whole body knows)
with my highly privileged &
much preferred
ego-conscious
knowing:
snow ball on the tip of
the I’s berg
I admit it. Confess.
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